Screenshots of some Recent Galaxies!

 

 

Each Galaxy started with a bucket of Keim Mineral Paint!  I then took the initial image and worked my magic digitally!

 

Buy the “Keim Galaxies” as printed products on the print-on-demand website “Redbubble.com”

 

Yes, I am gradually putting up the rather large series of work on my Artist’s page on Redbubble!  It takes some time so they are not all up there.  I am basically adding them at the same time as I have Skype meetings with my fellow artists at Kingston Artists’ Open Studios each week.  We cannot meet in person, but Skype is just fine, with the added advantage of being able to work on the computer, or whatever we are currently working on at the same time!

This is my  WordPress Artist’s Journal, so I am going to ramble on on my usual meandering course for the rest of this post.  If you would like to see the beautiful “Keim Galaxies” I put most of them up in a previous post, so either skim down to that, or follow the link to my Artist’s Page on Redubble.com where I have posted some of them already!

Here is the link to the “Explore” designs section at Redbubble.com.  It displays the image as a simple, flat, square, as the example below. When you find a design you like and want to see products in the shop, there’s another link to follow! Then another whole world opens.  Maybe quite a useful one at the moment, with the shops being in the situation they are in.  There is stationery, soft furnishings, wall art, greetings cards, prints, posters, home furnishings, accessories, and much more.

https://www.redbubble.com/people/jennyjimjams/explore

 

“Kind of Colossal” ©Jenny Meehan

Note: images are low resolution and don’t reflect full sized image quality.

 

Deaf, deaf, Hard of Hearing, Lipreaders, + Face Masks

and Matching Accessories, including Bags, Notebooks, Badges and Clothing!

Featured Collection for 2020 due to Corona Virus Pandemic are over 50 Inclusive Designs by Jenny Meehan

Link direct to the whole collection here: https://www.redbubble.com/people/jennyjimjams/shop?artistUserName=jennyjimjams&asc=u&collections=1511687&iaCode=all-departments&sortOrder=relevant

 

jenny meehan surrey artist london contemporary female artist

jenny meehan surrey artist london contemporary female artist

About Jenny Meehan

I’m a British fine and applied artist, painter and poet creating original exciting artwork.

This artwork is an evolution of the beautiful mineral pigments used in Keim Mineral paints and part of an extensive portfolio of lyrically abstract/geometric abstract designs created from my love of painting, colour, and a focus on the environment through raising awareness that we have a choice to use alternatives to film forming synthetic paint.

This strand of my work allows me to offer accessible and affordable art to a wide range of people. My original fine paintings are also available to by, contact me on Instagram via link in bio or through my Artist’s Journal:

https://jennymeehan.wordpress.com/jenny-meehan-jennifer-meehan-how-to-contact-me

All art ©Jenny Meehan image licensing via DACS only but initial proposed fee often negotiable.

……

..You can buy my work as prints, posters, soft furnishings, stationery, cloth face masks, bedding, accessories, bags, headscarves, wall hangings, clothing, designer clothing, plus more… on redbubble.com.

https://www.redbubble.com/people/jennyjimjams/explore

 

 

 

 

 

 

 

 

 

(video doesn’t seem to work on my phone…sorry! looking into why!)

“Timetable” by Jenny Meehan 2020 to music by Kevin MacLeod “Screen Saver” (sourced from freepd.com. CC0 1.0 Universal (CC0 1.0)
Public Domain Dedication)

I made this video a while back, before the Covid-19, Coronavirus, UK lock down and all that has brought many more people to a situation of working from home. It seems odd looking at it now!

The video was made last year, in 2019. At the end of last year I was experimenting with making short video clips, just for a change. My very short piece “Time Table” was selected for screening at an event in Manchester. Info below:

screening shown on 3rd December 2019 at STRETCH – Reel Time event. Held at Mirabel Studios 14 -20 Mirabel Street Manchester M31PJ

My statement:

“As an artist, writer, and home-maker, I manage my time by working in a completely piecemeal, and often spontaneous, way. I integrate my creative practice within my domestic life and utilise the flexibility inherent in this way of life. I used my work space, (AKA kitchen) as the setting for the film “Time Table”. I often produce work on my kitchen table is the object in the room which best represents the interrelationship between my artistic work and the other work I’m involved in.

Both forms of work are mostly unpaid, and it becomes a challenge to maintain a sense of self and a sense of value in our capitalist society which measures value by status and money.

The planner in the film has blank pages but rapid movement, because in both dimensions of my work sphere; the domestic and the artistic; I’m extremely busy. However, I find the reality of my work is non existent in many people’s perceptions; it’s blank; because they do not recognise what I do as being work. In our culture activities which take place in the domestic sphere are often side-lined and artistic creation is at risk as being thought as being a “free time” pursuit. I frequently get asked “What do you do all day?”

In reality, “work” reflects more to purpose and perception, than a context.

Like the table, the water in the film is a crossover subject too; from the water in the kettle (tea for a break time), the repetition and rhythm of a dripping tap (associated with labour and maybe monotony) and the water of a swimming pool (swimming being a “free time” activity for me). The pool is also a place for reflection: interestingly contemplative space for an artist swiftly re-orientates itself into a place of purpose for a reflective art practitioner.”

 

Made in the Pre-Covid 19 era…!!! Since making it, a HUGE number of people previously working in buildings which are not their domestic setting, currently work from home. It’s so odd looking back at this video I made now!

I hope that one of the outcomes of this challenging time is that the work of those so-called “economically inactive” (mainly women, and anyone involved in various unpaid caring activities) has a stronger sense of presence in our awareness of work activities, and even in the way we think about what makes us valuable human beings. The equation of money and status with worth is being shaken at the roots right now.

I’m so glad we have drawn our attention to appreciating the caring profession. And let’s remember, that “professions” are not professions due to the amount of money someone earns, but are an expression of a person’s values, investment, and focus. So many activities, not formally recognised as “professions”, though low paid, unpaid, and regardless of relative status in society, are ALL work, all valuable, and all vital to a healthy society.

Sculpture at Morley College

I find working with three dimensions very interesting and it makes a nice change from working on paintings, drawings, and prints. I was pleased to have my sculpture “Articulation” accepted for exhibition at this year’s MADE at Menier Gallery. It’s an exhibition for students at Morley College. HOWEVER…  then this email arrived… Not a surprise in the current Coronavirus Pandemic!

Dear all,

Due to the escalation of the Coronavirus pandemic in the UK, we regret to inform you that we have made the very difficult decision to postpone this year’s Made exhibition at Menier Gallery. We are very sorry about this, but there is nothing else we can do. In this unusual situation it is also hard to say when Made will happen, but we hope that we will be able to host it in a brand new Morley Gallery next year.

We appreciate the effort you have made to create all this lovely artwork and hope the effects of the Coronavirus are minimal for you and your loved ones.

More information about this will follow shortly.

Not a surprise.

Indeed, though signed up for a six week term, in the end I only attended two sessions of the course in the second half of the Spring Term.  Morley College is based in Southwark, which was at that time the London Borough with the second highest number of confirmed cases of Covid 19.  As I watched the figures rise – from 8 in Southwark on the 10th March  and then 28 confirmed cases of Covid 19 on the 16th March – I grew uncomfortable with travelling to Southwark on the train.  The journey there wasn’t too bad, but on the way back on the jam packed train… It was obviously a bad idea to continue.  The last time I went up to London was 10th March, and then on the way home in the rush hour I wore a specially made scarf… made by myself!  It was lightweight woven fabric with a couple of layers of polypropylene folded inside it.  Perfect!  Polypropylene is actually the main component in the manufacture of surgical face masks.  I really didn’t want to buy myself a surgical face mask… Feeling they should be kept for the settings for which they were designed.  However, I felt very strongly that people travelling in crowded trains should be wearing face coverings of some shape or form.  At that time, no one, well, hardly anyone, was wearing face masks or face coverings. But I felt so much better for doing so.

I wrote and researched quite a lot on the subject.  I used to be a Dental Nurse many years back and wore surgical face masks all day every working day.  We never used them as any more than a hygiene measure.  It was never a defensive, “protect me from this or that” kind of thing to do. They were not respirator masks, of course.  They were there to stop big droplets from the dental procedures and also to stop our breathing from the kind of merging of air which happens when you work very close to patients.  So this past experience informed my decision to cover my face so early on in certain settings.  I also did a bit of research, and while just one example, reading the research below got me thinking that it was better to err on the side of caution.  Though the Covid 19 is not Influenza A,  it is certainly highly infectious and if Influenza A has a way of spreading in very tiny particles (smaller than droplet infection, rather airborne).

Interestingly Scientists have disagreed for years on how exactly Influenza is spread; some saying that its airborne, and others that its only the larger droplets, and nothing smaller. I know which camp I am in.  Yes, we don’t know about Covid 19. Specifically.  However, it seems unwise in the midst of a global pandemic to insist on waiting for the numerous experiments with the specific virus in question to be carried out when such a simple, practical and easy to implement action by members of the public can at least be one small factor in reducing transmission of Covid 19. Its never been a “protect me from the virus” mentality for me.  It’s been; this is a virus which has a huge range of symptoms, (or people asymptomatic)  and basically its really hard to say for the most part if you have it, or have had it. There’s lots of corona-virus’ and probably many co infections happening right now.  So the best mindset is to behave as if you have it, and you carry it with you.  Though you don’t know, it matters not.  What matters is that when you are indoors in busy crowded places (not that we have any at this point in time!) where your exhaled breath will be mixing  with the exhaled breath of others, it seem logical to do what you can to avoid sharing.

I am so relieved we have the social distancing in place now.  Shopping in supermarkets, especially all the panic buying which went on earlier on, was surely one of the rampant and successful ways of spreading Covid 19 around, and I think we may look back and ask ourselves why we didn’t stop that earlier.  I used to wear a loop scarf or snood for shopping way back in Mid March. Still do now.  No reason not to.  I think there is a strand of thought which goes along the line of MASKS = FEAR.  This is a shame.  However, I can see that for some people the idea of a virus being airborne could be something which caused paranoia. Shame really, as it’s not a new idea but maybe in the light of the current situation that might seem unsurprising.  I think the research which I share below was immensely helpful to me, with the proviso of course that it was carried out in an artificial setting and also with a more familiar virus.  However, influenza’s of any kind are  very serious  and the cause of huge numbers of deaths each year.  The novel coronavirus  (Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2)which causes coronavirus disease 2019 (COVID-19),  was previously referred to by its provisional name 2019 novel coronavirus (2019-nCoV) is proving to be illusive and tricky to pin down. It’s very nature is unpredictable.  We will need to get used to the uncertainty and as we accept it and its consequences, doing something simple like covering our faces may make a small contribution to helping reduce and slow the spread. Any small contribution is worth while, and gives us more time. It is going to take a LONG time. I’m sure of that.

So with the following research, I think the key points are it’s prolonged face to face which is the mainstay of the awareness regarding spread.  The percentage is high in the experiment.  It logically would be less in a real life situation. And this is only one factor in spread.  One factor among many. Dose and duration all make big differences.  Something like this is helpful for increasing awareness and doesn’t need to result in paranoia, or in people ignoring the other methods of transmission.  Just the same as wearing a face covering doesn’t mean suddenly people are going to touch their faces more, not bother with other methods of reducing transmission, and become complacent!

https://www.virology.ws/2018/02/08/a-breath-of-fresh-influenza-virus/?fbclid=IwAR0CtmkP_OP93U7oOZfs03dRIrLkZJJX2JDeW40e8T548ycPONrJpW2rBoI

 

Ah, I have meandered.

Where was I? Morley College.

Yes, the exhibition cancelled, and then later this email:

“We are pleased to announce that we will present your work in a first-ever online MADE exhibition in May 2020!

As you already know, Morley has taken the difficult decision to cancel MADE at Menier Gallery (previously scheduled for 29 April – 7 May 2020). Although the physical show has been postponed, we are excited to inform you that we will present the exhibition digitally and we are currently working on a new Instagram account for MADE 2020 (@MadeAtMorley) that will feature all the selected works of art for each of the four disciplines involved – please, start following!

MADE 2020 ONLINE: The Instagram exhibition will feature your objects as well as interviews and films of production behind the scene. This is a great opportunity to show the hard work that you have been undertaking in this period and to offer viewers the chance to see your superb work online and get to know your art better. All the selected works will also be shown in the new Gallery website and will remain accessible in the future. We aim to launch the online exhibition on May 11th, 2020.

-> Please, note: Morley Gallery is expected to reopen in March 2021 and we hope to host the exhibition there as well in March/April 2021.

INSTAGRAM ACCOUNT The new Instagram account @MadeAtMorley is now live. Please start following now!

HASHTAGS
#MorleyGallery
#Morley_College
#Made2020

Well, that will be one way of seeing the work.  I am looking forward to it.

Here is the selected work “Articulation”.  Also the accompanying text.  Like a lot of my work, it was started some time ago, and then I have reflected and reviewed, refined and developed it. I value the process and value contemplation. A contemplative practice is the backbone to any art works I produce.  I don’t stick to a time schedule, unless I am producing something which is a commission for someone else.  It’s finished now, and I am very happy with it.

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist,

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan

 

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan

 

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan

Above; Various images taken during the process of making “Articulation”.

Below; Information/text submitted to the Morley Online exhibition.

 

“Articulation” What is it?

So here is a bit more about this work, which I have been working on for several years.  I believe its a great mistake to rush a piece of artwork.  They have their own timing, and something like this will be taken out, worked on for a while, and then put away again.  The process continues.  The work is not just the artefact; it is the thinking and feeling it represents.  It needs to evolve.  Like all my work, it comes into being in a piecemeal fashion, bit by bit.  I like the way that the form of this work reflects this.  It’s a very accurate expression of my working process, which I like very much for that very reason.  For this reason, I would call this a signature piece. It includes a poem which can be read if you look closely around the rim.

Untitled

Words are power;
this is why
I stumble and trip.
I try to find them.

For mine are hiding;
cowardly.
They left me helpless;
stuck themselves all over a tree –
becoming harder -soft tissue
into paper

Then,
as you see…

A wooden bark
which
soundless sits
in its own
quiet
dignity.

 

To find your voice as a person sounds easy, but it’s one of the hardest things in life.  Maybe for me, with a lot of childhood trauma and adversity, those formative experiences make “articulation” more a a challenge?  I’m not sure, but I do know that in my second half of life, I have needed to do a lot of personal work through ongoing psychotherapy. This has proved transformative, and vital in locating a stronger sense of myself, and in finding my voice.  As an artist and creative, this “Articulation” expresses the heart of why I work with materials in the way that I do.  It’s part of a regeneration and growth; An expansion and exploration.

On the materials and making dimension of “Articulation”

Process
I took some digital photographs of trees/branches in my garden. Photocopies of these were used as the final layer of papier-mâché. They were the beginning, and end of this process led, instinctive piece.

The galvanised steel wire framework took off nicely. I wanted a sense of control/structure but also spontaneity. Playful rings in the centre invite a childlike exploration. I included suggestions of fluidity/water flow in the outer form using parallel areas of curved wire. I wanted activity and life suggested in what was gradually emerging as a tree stump type form.

The paper parts skim around the form, almost as if being blown by wind; a metaphor for the Holy Spirit of God. My acknowledgement of a life giving, creative, divine influence; inspiration; is key.

The negative spaces and shapes are there to unify the sculpture as a whole; they let you into its structure and in doing that, present a sense of unity to the superficial brokenness. The newspaper and photocopied paper “bark” was sprayed brown paint, then varnished. In one section there is an inner and outer wire wall which have separated from each other. The inner energy of the trunk is pushing the old bark away.

My experience of psychotherapy is integral to my creative output.

 

Deaf, deaf, Hard of Hearing, Lipreaders, + Face Masks

and Matching Accessories, including Bags, Notebooks, Badges and Clothing!

Featured Collection for 2020 due to Corona Virus Pandemic are over Inclusive Designs by Jenny Meehan

Link direct to the whole collection here: https://www.redbubble.com/people/jennyjimjams/shop?artistUserName=jennyjimjams&asc=u&collections=1511687&iaCode=all-departments&sortOrder=relevant

 

 

“Keim Galaxies” Available to Buy on Redbubble.com

 

https://www.redbubble.com/people/jennyjimjams/explore

II am currently putting many of the “Keim Galaxies” art/design up on my Redbubble.com account.  Redbubble.com is a print-on-demand website which artists can post their work on and have it printed on merchandise of many kinds if any customer requests it.  This is a great way to make ones art and design accessible and the artist gets a royalty payment for each time their design is used.   I don’t have the time to print my own work very much anymore, so making prints available on Redbubble.com works well.  If someone doesn’t particularly want a signed print, then they can just get a print through the website.  Conversely, I do produce a very small number of signed prints myself, but the number is very small.  I don’t limit them in number.  I do number them, for my own records.  But it seems silly to artificially limit them.  They are limited simply by virtue that the numbers I produce are very small.

jenny meehan london surrey contemporary artist blog

jenny meehan london surrey contemporary artist blog

 

jenny meehan art for sale british contemporary artist

jenny meehan art for sale british contemporary artist

 

Jenny Meehan: How to buy my art/design online safely, easily, and affordably.

 

https://www.redbubble.com/people/jennyjimjams/explore

This is my main portfolio on redbubble.com. My focus isn’t on selling online, but accessible and affordable art prints enable people to own and view selected examples of my work and its a great way to share it.

Follow the links to take a peek, or simply put in your browser the words redbubble jennyjimjams (skip the main site advert) , and pages from my profile will come up. Scroll down any page until you get to “View Jenny Meehan’s shop” if you want to look at a range of products they offer with my designs on. Or there’s another option to “shop” called “explore”. (More on navigating the redbubble.com site below)

There are thousands of artists work up on redbubble.com! All with their own “shop” and profile. If you want to buy prints and merchandise from redbubble.com with my work on, ensure you have found the right shopfront. It should be showing on a page with my profile image on.

There is only a limited selection of work I’ve posted on redbubble.com. It’s a “print on demand” site. If you purchase something with my art/design on it, I get a royalty payment while redbubble.com manufacture the product or print.

Any art prints are unsigned. It’s an excellent way for me to make my work more affordable and available. And easy to buy.

Take a look! If there is something you have seen on Instagram, LinkedIn, or my Jenny Meehan Contemporary Artist’s Journal and you would like it available on redbubble, just contact me directly and I can put it up on redbubble.com.

 

 

Navigating the redbubble.com website to locate art/design by Jenny Meehan

Navigating the site can be a bit confusing, and it’s easy to end up looking at work by other artists, rather than just mine, because of the way the website is organised.  If you specifically want to purchase products and prints with my art/design on, the following might help you.

Link to the SHOP section is:

https://www.redbubble.com/people/jennyjimjams/shop

The SHOP section shows my work on different products.  When you start clicking around it also offers an option “See Similar Designs” but this will show designs by ALL artists on redbubble.com which are similar.  I mention because this can be confusing.  If you just want to see additional designs by me on the shop section, then you need to make sure you scroll down to my profile picture and name and look there.  It’s further down.

 

Link to the EXPLORE section is

https://www.redbubble.com/people/jennyjimjams/explore

The EXPLORE section is the best section to navigate to if you want to take a quick look at the whole range of designs I have in my redbubble.com portfolio.  It just shows the designs as a flat image.  When you locate one you like you can then select to see it on various products.  It’s a better way of navigating to my work, as less confusing.

Something you want me to put up on redbubble.com, but I haven’t put it up yet?

No problem!  Contact me via the contact page here on my blog/artist’s journal and I will put it up within three days, normally.

I am able to locate the artwork from my extensive digital archive and put it up on redbubble.com within 3 days. Once it’s up there, you purchase the print or product online and your order is fulfilled by redbubble.com

Other options for buying are you contact me and I can get a print made elsewhere, but generally this often tends to work out more expensive and does take longer.

However. If you require a signed art print, or redbubble.com do not offer the substrate or format you need, this is a better option for you.

Interior designers looking for specific formats and substrates for large scale artwork for corporate, office and business environments or other public spaces may wish to contact me directly for custom made, large scale, interior wall art, prints, etc. Enquiries most welcome.

 

Geometric Abstraction/Geometric Patterns/Repeating Patterns and Surface Design Focus

I have an additional redbubble.com profile with only geometric patterned designs:

https://www.redbubble.com/people/JennyMeehan/explore

 

Which “Keim Galaxies” have I put up on Redbubble.com so far?

Here are some images of the “Keim Galaxies” up at the present time.  I will be adding to them, of course.

 

 jenny meehan british contemporary artist ©jenny meehan "keim galaxies" geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

 jenny meehan british contemporary artist ©jenny meehan "keim galaxies" geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

 jenny meehan british contemporary artist ©jenny meehan "keim galaxies" geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

 jenny meehan british contemporary artist ©jenny meehan "keim galaxies" geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

Images are low resolution on the internet.  On Redbubble.com it’s possible to have them printed on prints and furnishing, and many different types of merchandise at a very large scale.  This is perfect for interior designers, for both domestic and home settings and is quick, safe, and affordable.

Note: The edges where colours meet are diffused, giving a gentle, organic feel when viewed at very close range. This softening is deliberate, and not a printing fault. The combination of flat solid colours and softened edges on printed substrate is part of my aesthetic and characteristic of all of my flat colour designs.

 

 

Jenny Meehan Contemporary Fine Artist Original Fine Art Paintings for Sale

If you prefer to buy affordable, original paintings, directly from me, I have plenty available and do please contact me letting me know what you are looking for.

The majority of my original fine art paintings can be described as following the style of abstract expressionism and lyrical abstraction. I paint in either oils or acrylics mostly.

A rough price guide for my original fine paintings is between £200 and £600 if purchased directly from me. When you buy a painting or any art work from a gallery setting, there is normally a commission of between 30% and 50% added to the price due to gallery costs and the purchase being made through a business. I am not formally  represented by any one gallery at the current time.

I  regularly exhibits my art working (paintings, prints, and poetry) in the United Kingdom. This is normally as a result of being selected in Open Submission Artist’s Call Outs. My work has been exhibited in many notable galleries, including Pallant House Gallery, Dulwich Picture Gallery, Stanley Picker Gallery, and Kingston Museum Gallery. My  work is featured/included in many publications, University and Hospital projects/settings.

 

Kingston Artists’ Open Studios 2020 Cancelled!

Yes, another cancelled exhibition.  Here are some images from last year to look at instead!

 

 

 

kingston artists open studios , jenny meehan artist designer art gallery, art work, art exhibition, surrey artists, surrey artists studios, jenny meehan british contemporary artist ©jenny meehanevents in surrey, artists open studios london, outer london artists studios, lyrical abstractions, geometric abstraction, fine paintings, prints,

kingston artists open studios 2019 jenny meehan artist designer artists open studios events in surrey, artists open studios london, outer london artists studios, lyrical abstractions, geometric abstraction, fine paintings, prints,

 

 

 

kingston artists open studios , jenny meehan artist designer art gallery, art work, art exhibition, surrey artists, surrey artists studios, jenny meehan british contemporary artist ©jenny meehan

kingston artists open studios , jenny meehan artist designer art gallery, art work, art exhibition, surrey artists, surrey artists studios, jenny meehan british contemporary artist ©jenny meehan

 

“With great reluctance we have decided to cancel #OpenStudios 2020 because of the #coronavirus situation. We will be back as soon as we can. In the meantime do look at our website & links to our artists’ websites. Do support them by ordering online!”

http://kingstonartistsopenstudios.co.uk

The Garden Gate Oil Painting by Jenny Meehan

 

the garden gate oil painting by Jenny jenny meehan british contemporary artist©jenny meehan

the garden gate oil painting by Jenny jenny meehan british contemporary artist©jenny meehan

This is an early painting of mine when I was first experimenting with representational painting. I’ve picked this to share because of the “Staying at Home” message we are all hearing. The painting is my neighbours front garden. The tree isn’t there anymore, as it was sadly cut down.  The pathway leading to the shut gate evokes some kind of memory for me from my childhood.  You shut gates in gardens to stop children from wandering out, in to possible danger. The paintings has shade, on the right hand side, from the walls of the house, and also sunlight which catches the bushes on the left. Young flowering plants grow in the shade, enjoying the protection of the wall from the early morning frosts no doubt.  The strong branches of the tree outside the garden are quite a contrast.

I am finding great enjoyment from my garden at this challenging time, and it is certainly therapeutic!  A good way of relaxing.  Nature is very comforting at times.  I said to myself recently, as I looked at my small tomato plant growing “As long as the plants keep growing, we are OK!”.

 

 

 

 

jenny meehan Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist©jenny meehan

jenny meehan Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist©jenny meehan

 

 

©jenny meehan jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist

jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist©jenny meehan

 

 

The Art of Caring

Well, ANOTHER cancelled exhibition. Which has become an online exhibition for the time being.

Here is some information about it, copied and pasted from the “Art of Caring” website. http://www.artofcaring.org.uk/

 

“Introduction to “The Art of Caring” Online Exhibition

“We are delighted to participate in the Art of Caring 2020 exhibition, the year which the World Health Organisation designated as the International Year of the Nurse and Midwife and the bicentennial year of Florence Nightingale’s birth. Any year would have been timely to celebrate the attributes of our highly skilled, multi faceted professions, which make up the largest proportion of the NHS workforce. But with the world facing a global pandemic, it is apposite that in this, of all years, we pay tribute to the contribution and sacrifice made by our colleagues worldwide and offer them our sincere thanks and gratitude.

The theme for this year’s exhibition, ‘Ingredients for a healthy life’ takes on new meaning and poignancy in such unprecedented times. Many images in our exhibition reflect this, appreciating the gifts of comfort and kindness which bind us together. We are indebted to our Artist In Residence, Alban Low in organising our first ever ‘Virtual’ exhibition and hope you enjoy it as much as we have.

Keep safe (and wash your hands),

Prof Karen Norman (On behalf of the School of Nursing, Kingston University and St George’s, University of London).

Karen Norman is Non Executive Director, Queen Victoria Hospital NHS Foundation Trust and Visiting Professor, Business School, University of Hertfordshire

This exhibition is supported by the School of Nursing, Kingston University and St George’s, University of London. Thank you to the arts team at St George’s Hospital and our long term artist partners The Arts Project (Peter Herbert/Marius Els) at St Pancras Hospital.”

“The Art of Caring” Online Exhibition will be running over May 2020. Each day there will be the work of four artists on the Art of Caring blog/website, and on some social media platforms too.  Here is the rundown!

Art of Caring Online exhibition 2020
Aaron J Little 20/05/2020
Aasiri Wickremage 15/05/2020
Adam Drouet 07/05/2020
Alan Carlyon Smith 31/05/2020
Alban Low 25/05/2020
Alexandre Santacruz 21/05/2020
Ally Zlatar 20/05/2020
Amanda Van Der Zant 07/05/2020
Amna Walayat 28/05/2020
Ana Miljkovac 26/05/2020
Ann Froggatt 28/05/2020
Ann Kopka 10/05/2020
Anna Bulgakova 18/05/2020
Anna O’Doherty 05/05/2020
Aran Illingworth 20/05/2020
Ayşegül Altunok 19/05/2020
B a r b a r a   Schneider 23/05/2020
Beatrice Bromley 09/05/2020
Beth Barlow 11/05/2020
Bryan Benge 08/05/2020
Carole Loeffler 28/05/2020
Catherine Jack 15/05/2020
Catriona Smith 25/05/2020
Charlotte W Stubbs 08/05/2020
Chiara Cavarzan 29/05/2020
Chloe Ann Munday 12/05/2020
Chloe Laurence and Tom Francome 24/05/2020
Chris Brown 30/05/2020
Chris Holley 27/05/2020
CJ Crosland 18/05/2020
Clare Owen 27/05/2020
Collette Costello 14/05/2020
Corinne Perry 06/05/2020
Cotidad 28/05/2020
Dacc e Dukjan 12/05/2020
Daniel Zlota 05/05/2020
Daniele Bongiovanni 02/05/2020
Danny Mooney 19/05/2020
David Robinson 26/05/2020
Dean Reddick 21/05/2020
Durre Sameen 23/05/2020
Emily Naine 27/05/2020
Gabriella Ranito 04/05/2020
George Mavrikos 18/05/2020
Gerrard Lindley 01/05/2020
GIDEON CONN 30/05/2020
Giovanna Iorio 14/05/2020
Grant Radford & Zoe Maslen. Accent 16/05/2020
Hamish Young 30/05/2020
Hannah Lehane 01/05/2020
Helen Grundy 02/05/2020
Helen Roeten 13/05/2020
Helen Tate 17/05/2020
Henry Kenyon 29/05/2020
Jade Atkinson 02/05/2020
Jane Walker 26/05/2020
Janet Stafford 09/05/2020
Jean Mooney 19/05/2020
Jeff Hunter 25/05/2020
Jennifer Weston 10/05/2020
Jenny Meehan 06/05/2020
Jina Wallwork 01/05/2020
Jon Halls 05/05/2020
Julie Bennett 04/05/2020
Jura Brian Joyce 17/05/2020
Karen Winship 12/05/2020
Kath Lovett 07/05/2020
Katie Frost 22/05/2020
Katy Sayers 21/05/2020
Klaus Pinter 07/05/2020
Laura Atkinson 02/05/2020
Laura Parker 04/05/2020
Laura Scull 14/05/2020
Laurence Morgan 10/05/2020
Lieske Weenink 03/05/2020
Lily Mooney 31/05/2020
Lotta Barlach 27/05/2020
Louisa Pankhurst Johnson 15/05/2020
Lucy Clayton 20/05/2020
Lucy Oates 24/05/2020
Lydia Fernandez-Arias 08/05/2020
Mahlia Amatina 13/05/2020
Maria Lezon 08/05/2020
Marina Medef 23/05/2020
Marius Els 12/05/2020
Mark Carr 03/05/2020
Martin Hill 26/05/2020
Martina Scott 04/05/2020
Mary Conway 24/05/2020
Melanie Honebone 06/05/2020
Mia-Jane Harris 29/05/2020
Misty Athena Stokes 11/05/2020
Monique Martin 03/05/2020
Nadia Uppal 31/05/2020
Nicholas Sweet 14/05/2020
Nicky Chubb 18/05/2020
Nicole Lyster 05/05/2020
Paul March 11/05/2020
Paula De Sousa 15/05/2020
Poppy Field 24/05/2020
Rachael Murray – Created by family carers in Suffolk 17/05/2020
Rakhee Shah 05/05/2020
Raul Moya Mula 16/05/2020
Rebecca Sainsot-Reynolds 22/05/2020
Richard Young 06/05/2020
Ryoko Minamitani 19/05/2020
Sam M Harley 25/05/2020
Sara Jayne Harris 11/05/2020
Sarah Foque 16/05/2020
SEAN WORRALL 03/05/2020
Shannon Amey 22/05/2020
Simon Richardson 29/05/2020
Sonia Ben Achoura 23/05/2020
Stella Tripp 09/05/2020
Sue Thompson 16/05/2020
Susan Plover 30/05/2020
Teri Anderson 22/05/2020
Tracy Ferriss 31/05/2020
Trevor Coopersmith 10/05/2020
Vaiva Kovieraitė 21/05/2020
William Stok 17/05/2020
Yvonne Vignes 13/05/2020
Zelga Miller 09/05/2020

Zoe Douglas-Cain 13/05/2020

As May has started already on publishing this blog post, I have already started to look at some of the artworks and statements online, and they are amazing! Can’t wait to see more!
My contribution:
Here is my submission. Title “Eating Greens” 🤣
Sometimes self care is difficult! It feels unpleasant when we are not used to it!
The thinking behind this submission is that for those in the caring professions, or anyone fulfilling a caring role, it’s so easy to neglect ourselves. Neglecting to eat healthily is one obvious way to neglect yourself, but there are many others. The model in the photo is my daughter, who loves cabbage now… It just took some getting used to.  Often self care feels hard… It doesn’t feel right, but it gives us nourishment which we need.
Jenny (I need to remind myself of this all the time!)
eating greens for art of caring ©jenny meehan print for http://collectconnect.blogspot.com/ and art of caring online exhibition

eating greens for art of caring ©jenny meehan print for http://collectconnect.blogspot.com/ and art of caring online exhibition

And instagram is
jamartlondon_jennymeehan

 

Kingston Museum Exhibition

One of my prints has been shortlisted for this art exhibition at Kingston Museum.  Another one which will have to wait, at this Covid 19 Time we inhibit. No online exhibition happening for this one. It will be titled: Climate KAOS: Kingston Artists Open Studios present works about climate change. Was due to happen in June..

My artwork was one of the shortlisted, and we won’t know what exactly gets hung in the museum gallery until the massive task of hanging the work takes place, whenever that is.  It might be that depending on how the hanging goes, my work might not be in the final exhibition, but the intention at the present time is that it is.

Here is info on my work and the thinking, as submitted in the Artists’ Exhibition Call Out

 

“Artwork title: “Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.”
Medium: digital print on 3 mm panel
Year created: 2019
Overall dimensions: (including frame where applicable) 400 mm x 400 mm
Price: ( including 30% commission) £150

Title: “Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.”

My response to the exhibition Mandalas at White Cube Mason’s Yard.

This mandala started with waste in the form of printed wrapping paper.

I was brought up with the phrase “Waste not want not”, which is said to advise someone not to waste anything, because they might need it in the future. This seems a timely message humankind in the present era especially, and regardless of perceived value, in art or anything else, we should all be using the resources we have wisely, however much or little they cost.

Jenny Meehan is an artist based in Chessington Surrey working with painting, digital imagery and writing..”

 

Other thoughts on this.

The artwork started as something I posted on instagram with the following text:

 

"Poor art" parody; A Damien Hirst "style" Mandala created from waste and without assistants." ©jenny meehan print for Kingston Museum KAOS exhibition

“Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.” ©jenny meehan print for Kingston Museum KAOS exhibition

 

 

"Poor art" parody; A Damien Hirst "style" Mandala created from waste and without assistants." ©jenny meehan print for Kingston Museum KAOS exhibition

“Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.” ©jenny meehan print for Kingston Museum KAOS exhibition

 

About Jenny Meehan

Jenny Meehan – UK based painter-poet artist-author

Specialism: Geometric and Lyrical Abstraction

Artist Journal: https://jennymeehan.wordpress.com/

Image licensing via DACS Designer and Artists Copyright Society (DACS proposed fees are negotiable contact me in first instance)

https://www.youtube.com/user/jennyjimjams

https://www.instagram.com/jamartlondon_jennymeehan/

 

 

Copyright Information – Jenny Meehan

©jenny meehan

Copyright in all images by Jenny Meehan is held by the artist.

Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licences or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.

Any persons discovered to be reproducing, copying or using images by Jenny Meehan without prior consent, authorisation or permission will be put on notice that Jenny Meehan is the copyright owner and asked to immediately cease and desist the infringing activity. If a satisfactory response and / or compliance is not forthcoming promptly, the matter will be pursued. For clarification of the laws of copyright, please contact the Design and Artists Copyright Society (DACS). http://www.dacs.org.uk

Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements.

Licencing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. It can be done online through their request form:

https://dacs.secure.force.com/enquiry/

For an overview on image licensing on the DACS website, look here.

https://www.dacs.org.uk/licensing-works

Please NOTE: the “Quote” suggested is a proposed fee in line with the industry standard.  While I do stick broadly to the industry standard with respect to fees, I appreciate the need to stick to a budget in publishing, and the quote is a proposed amount. I normally have some flexibility! 

 

DACS will automatically propose a licensing fee in line with the industry standard.  However, please note, this is a negotiable fee. I am happy to be flexible about the initial fee proposed, and it’s not a problem if the initially proposed fee is outside your budget.  Administration of the licensing process is facilitated through DACS, who liaise between us with respect to the exact fee agreed. Depending on circumstances and the nature of your project, I can offer fee reductions for a certain percentage of licensing arrangements.

If you use their online form and attach the low resolution image of my artwork which you have found on the internet, they will know which image you seek permission for. You can also contact me directly in the first instance if you wish to, of course.  Any arrangements will need to be made through the Designer and Artists’ Copyright Society, but I can often offer the opportunity to alter images, for example, putting in different aspect ratios or colourways, so it’s really helpful to communicate with designers and clients first with respect to the actual image required.

So, feel free to contact me if you are looking for a particular type of artwork image, as I have a large archive of images. I will also be able to let you know the maximum size the digital image is available at. If you then wish to licence the artwork image, you would then contact the Design and Artist Copyright Society to arrange the licencing agreement according to your requirements. Once paid and agreed, I then supply the high resolution image directly to you.

Sample Price Guide for book cover image: £350, as below:
For this kind of use:
Distribution: Worldwide all languages
Print run: 5,000 printed copies plus 500 e-books
Proposed licensing fee: £270 +vat
This was below the proposed licencing fee initially suggested to the client by DACS, which was (in that year) £382 +vat, but I had a personal interest in the project therefore was happy to reduce the fee accordingly.
I request three complimentary copies of the book for myself, but I make no fee for the supply of the image.
My images can be licensed for use easily and quickly.  DACS have price lists on their website for different types of use, which should be used only a guide for a proposed fee.  It’s a starting point. I can normally be flexible.

 

 

 

 

The usual mass of discrete title topics all messed into one…Just the way I like it!

Transgender, Gender & Psychoanalysis (Freud Museum and the SITE conference: Fringe event art exhibition)

 

 

pen and ink on torn paper unique print by jenny meehan jamartlondon

pen and ink on torn paper unique print by jenny meehan jamartlondon

Looking forward to being part of this exhibition.

Above is one of two submitted art works which were chosen by the curators for exhibition.  “Pen and Ink on Torn Paper” is composed of a digitally printed torn image, but this is effectively a unique original artwork, in that the tearing is unique to itself. So there is no edition as such. It is a “one off” by virtue of it’s torn substrate. It’s the tearing, rather than the print itself, which would is unique to each one, if I decide to make any more. So if anyone does express an interest in buying it, I can make one for them which would have the same image, but would be torn differently.

(Pen and ink were the original mediums of the figures, but they have never existed together in reality! )

And here, below is “Pink Girl”…

 

The SITE for Contemporary Psychoanalysis ,recovery psychotherapy,art psychotherapy,british female painter artist jenny meehan,Pink Girl painting in Recovery University of Leicester Instutute of Mental Health by Jenny Meeha

Pink Girl painting by Jenny Meehan © Jenny Meehan DACS All Rights Reserved

The exhibition is a fringe event which is part of an annual conference…

The SITE is teaming up with the Freud Museum for its annual conference in 2017:

Transgender, Gender & Psychoanalysis

11th & 12th March 2017 at the Freud Museum

EARLY BIRD TICKETS ON SALE UNTIL 15 JANUARY

The Conference Fringe will include a series of events leading up to the Conference…

 

Here is a bit about the SITE, quoted from their website:

The SITE for Contemporary Psychoanalysis is a training organisation and a member of the Council for Psychoanalysis and Jungian Analysis College (CPJA) of the United Kingdom Council for Psychotherapy (UKCP). All graduates are eligible for UKCP registration.

The Site was established in October 1997 by psychotherapists from diverse psychoanalytic organisations who wished to create a training programme and an association that would foster critical, reflective and imaginative thinking about psychoanalysis and its contemporary practices.

In 2010 the Site set up a sister training in Truro, Cornwall. This is now a well established part of the Site, with a successful training, an Introductory course and annual public events.

Here is the link to The SITE for Contemporary Psychoanalysis

And here is the information on the event, of which the Art Exhibition is going to be just one part.  I am delighted that my work was selected for this art exhibition!

“SITE announces collaboration with Freud Museum

The SITE is teaming up with the Freud Museum for its annual conference in 2017.

Transgender, Gender & Psychoanalysis

11th & 12th March 2017 at the Freud Museum

The struggles of people of transgender identity have exploded into mainstream consciousness. By crossing the ‘gender divide’, the trans movement has radicalised the question of what it means to be a man or a woman, uncovering a fertile and conflicting arena in which the emancipatory deconstruction of sexual identity intriguingly flirts with the pitfalls of essentialism.

Such a reshuffling of binary and non-binary categories confronts psychoanalysis with new clinical, political and theoretical challenges that push it out of its comfort zone. How can contemporary psychoanalysis meet the demands and the needs that such challenges yield? What does psychoanalysis have to lose? And what does it stand to gain?

The 2017 SITE Conference in collaboration with the Freud Museum will approach these questions critically while exploring new horizons from which to address the complex issues of sexual identity and gendered positioning.”

Here is the flyer for the SITE fringe “Transgender, Gender & Psychoanalysis” Art Exhibition:

fringe-exhibition-flyer-transgender-and-psychoanalysis

fringe-exhibition-flyer-transgender-and-psychoanalysis

Because my forthcoming knee replacement operation is also due in March,  I will not be able to make even the “short walk” to see the exhibition, as far as I can see, if I have just had the op!  Even now, getting to the venue has an added layer of complexity which I never fully appreciated before my own experience of disability in terms of mobility. On the other hand, If I have not had my operation, I am sure I can work out a way of getting to it. I use a crutch for when I am in London, as I need the extra support using public transport, (all those stairs!) and to enable me to walk more reliably for longer and without aggravating the joint to the point of agony.  Agony is not good.  I am now hoping that maybe the operation will be after this exhibition, and I can both deliver and collect my work at least. But I will need to wait and see.

It is a shame not to know how things will be, but actually it is heaven just knowing that I will have my knee joint treated surgically.   Hopefully they will take lots of images at the private view and I can get a taste of it that way, even if I cannot make the event. Until I am well and truly back walking again, I may have to give pursuing any opportunities a miss.

Labels for Painting Styles

Labels…  Kind of a necessity for me, in terms of communicating how my painting relates to other “movements”.  The good thing about movements is they are normally seen best from a great distance, and also, it is encouraging to look back and see other artists who have been as obsessed as you about particular approaches to art making and art working.  It is also helpful for those who enjoy collecting art…  They can explore different movements and will settle on something maybe over time which they find the most exciting and interesting for themselves in terms of a historical period or style of painting.  There are all kinds of ways that an art collector might decide to focus their collection of art work.

The terms I tend to use for describing my main thrust in painting are bouncing within the realms of the following terms: Lyrical abstraction, abstraction lyrique, tachism, tachisme, action painting, abstract expressionism, art informal, informalism.  But these are terms which relate to particular movements in the past, and serve as a way of describing and communicating what to expect with my own painting, and not anything more than that.  And it is the case that within my own realm of art working, I move between several styles…  This is part of the process of development.  I think I have written about this in a previous post.  It is a bad thing to narrow down artistic creation in order to adhere or fit into a style.  If it happens it will happen naturally, and evolve that way. It will grow and develop, playing and toying with different styles and approaches en route!

It is the case, that when using paint, things now are tending to fall within the bounds of my approach, which is process led and focused on formal elements and experimenting with materials. What comes through is a materialisation, a becoming, of my self.  Which references my life experience and emotional and spiritual journey.  Mostly I like to let things happen, rather than plan.  But there is a lot of unconscious planning which happens I think.  There is a lot of emerging!!!

Historical terms and descriptions of styles are good for searching for the kind of paintings you like, and there are plenty of movements which it is helpful for the keen collector of art to educate themselves in.  My own preoccupation is with the formal elements of the painting, and a process led approach.  My preferred terminology for my own work is that of British romantic, poetic, lyrical, abstract and expressionistic painting.  I like the romantic, because of the way it conveys both individuality and intensity of emotion and the importance of these.  I loved my studies of the Romantic poets when at University, and also of the paintings of Turner, which were studies as part of a couple of painting courses at West Dean College given by John T Freeman, (who I credit, among others, with role of welcoming me into the realms of painting as a way of life/vocational activity!)

This is rather helpful:

From Wikipedia, the free encyclopedia

Serge Poliakoff Composition: Gray and Red, 1964
Tachisme (alternative spelling: Tachism, derived from the French word tache, stain) is a French style of abstract painting popular in the 1940s and 1950s. The term is said to have been first used with regards to the movement in 1951.[1] It is often considered to be the European equivalent to abstract expressionism,[2] although there are stylistic differences (American abstract expressionism tended to be more “aggressively raw” than tachisme).[1] It was part of a larger postwar movement known as Art Informel (or Informel),[3] which abandoned geometric abstraction in favour of a more intuitive form of expression, similar to action painting. Another name for Tachism is Abstraction lyrique (related to American Lyrical Abstraction). COBRA is also related to Tachisme, as is Japan’s Gutai group.

After World War II the term School of Paris often referred to Tachisme, the European equivalent of American abstract expressionism. Important proponents were Jean-Paul Riopelle, Wols, Jean Dubuffet, Pierre Soulages, Nicolas de Staël, Hans Hartung, Serge Poliakoff, Georges Mathieu and Jean Messagier, among several others. (See list of artists below.)

According to Chilvers, the term tachisme “was first used in this sense in about 1951 (the French critics Charles Estienne and Pierre Guéguen have each been credited with coining it) and it was given wide currency by [French critic and painter] Michel Tapié in his book Un Art autre (1952).”

Tachisme was a reaction to Cubism and is characterized by spontaneous brushwork, drips and blobs of paint straight from the tube, and sometimes scribbling reminiscent of calligraphy.

Tachisme is closely related to Informalism or Art Informel, which, in its 1950s French art-critical context, referred not so much to a sense of “informal art” as “a lack or absence of form itself”–non-formal or un-form-ulated–and not a simple reduction of formality or formalness. Art Informel was more about the absence of premeditated structure, conception or approach (sans cérémonie) than a mere casual, loosened or relaxed art procedure.[4]

And there is lots more to read: https://en.wikipedia.org/wiki/Tachisme

More Paintings

eternal one painting jenny meehan referencing afterlife

eternal one painting jenny meehan referencing afterlife

Eternal One

arylic painting for sale purchase surrey fine painting on surrey artist network by contemporary British painter Jenny Meehan based in south west london. Acrylic paint, pigments, various mediums and fillers, sand, glass beads, on canvas coated with very thin coating of acrylic resin for protection. Framed and available for sale/purchase/collection.

Painting referencing afterlife, heaven,future,doorways,entrance,exit,rite of passage,dust,clouds,air,vision,Christian,heaven,ascension,spiritual,spirit,supernatural,death, life,journey,light

Time Passes

abstract acrylic contemporary british lyrical expressionist romantic elegiac fine painting alley outhouses lament past rear access roads passageway memory, jamartlondon, jenny meehan, jennifer meehan, © Jenny Meehan, abstract expressionist female painter 21st century, collectable abstract art,

past remembrances, elergy painting poetic mournful lament

Abstract acrylic painting, using glass beads, filler, pigments, pearlescent pigment,sand,acrylic medium.
Process based painting, with subject matter emerging as the painting progresses, so kind of free association process going on through the painting. This resonated as a memory, memory of past walks through the rear access roads in my area and also childhood memories of playing in alleyways.

Non representational acrylic painting with pigments, acrylic medium, glass beads,filler, wax crayon,oil pastel, pigment.

 

Upper Room

lyrical abstraction,abstract expressionist fine painting, british english women artist, 21st century painter female, upper room, christian artist art spirituality, contemplative art, meditative art, romantic abstract lyrical expressionism, abstract acrylic painting christian art sacred symbolism jenny meehan

lyrical abstract painting selected for “Not the Royal Academy” exhibition at Llewellyn Alexander Fine Paintings Waterloo in 2013. For sale.

“Upper Room” (reference, upper room in New Testament, where Last Supper took place)

Non representational acrylic painting with pigments, acrylic medium, sand, glass beads,filler, spray paint, pearlescent pigment, pigment.

 

Update on the current paintings in progress is there is a lot of looking and thinking, mulling and reflecting going on, but not a lot of action.

 

Printing Papers

While not painting, I have been experimenting with inkjet printing on different types of paper.  For some images I wanted duller colours and not the brightness which comes from using an ink-jet paper. I have a new printer which takes some time to get the head around but with a scanner it offers some new opportunities I am sure.  I have produced a fair bit of work but not anything I want to show at this point as still very much under consideration.

I have many different types of paper and have no rule for what I use for what.  Sometimes ordinary watercolour paper is right, other times, just copy paper.  Ink jet paper yields totally  different results to watercolour paper, quite surprisingly so. I should not be surprised, but I always am. There are different grades of ordinary printing paper that can give some of the benefits of photo paper (cleaner, clearer images; brighter colour; cleaner text) but for less money.

Fundamental differences are:

Weight: The amount of mass of a ream of 500 pages of the paper in question before it is cut down to whatever its current size may be.  Paper weight is simply an simple way to measure the density of a paper.

Point size: Point size is a measure of the thickness of paper, unlike weight, which is a measure of density of paper material. Points are one thousandth of an inch, with heavier papers having higher point sizes. Many types of paper will have no mention of point size, but photo papers/cards may include it.

Brightness: Brightness is the amount of light that is reflected off the surface of the paper.  More reflected light mean  a better colour range is achievable, and better contrast too. So the brighter the paper stock, the better, IF brightness is what you want and the greatest range of colours.   Brightness is measured in values from 0 to 100. For instance, you can  buy fine quality reams of typing paper with a brightness of 90.

Whiteness: Easily confused with paper brightness, “whiteness” is the shift in colour of the paper, for example white can lean towards blue or much warmer red.  There are icy, bluish, and cool whites or whites which lean towards cream.

Paper stock: Related to point size and weight, various densities, thicknesses, and paper qualities have various names, like “Newsprint,” “Cardstock,” or “Bristol.” Many photo papers are heavier weights, often in an attempt to recreate the feel of old style photo prints on light sensitive paper developed with photo chemistry.

Coated Paper:  (for photo papers) They are coated with a layer of chemical bonded to the paper, intended to allow inks to be absorbed more accurately, creating better quality images.  They can be coated on  just one or both sides. They might be gloss or matte.

 

I don’t always choose to print on coated paper, as what I want the print to look like can vary a lot depending on the image.  Inkjet printers fire ink at pages in small liquid drops and the porous paper accepts the liquid material with capillary action, drawing it out in multiple directions.  This can sometimes be the kind of image I want, and the flow of ink,  though it could be seen as detrimental to the quality of the print, (because the print is less clean and crisp) can also add a softness to the print which is rather suitable.

Coated papers are chemically treated to help the paper be a better printing substrate, well, “better” if crisp and clear is your objective. Ink blots rest on the emulsion in a wet state, but stay neatly put and are also neatly absorbed. Images stay clean, because the absorption of inks into emulsified surfaces is a more controlled process.  As the ink settles and dries, the pigment left behind is effectively locked into the surface treatment of the paper. It cannot have it’s own way  quite as much as it would!

 

 

Prints, Editions, Limited Editions, Numbered Editions – Clarity  or Confusion?

I’m popping this in by way of general reference in relation to the way I have chosen to do things.

There are two main strands to my visual creative practice, one being original fine paintings and the other being mechanically reproduced prints (either digital C-prints or ink-jet prints). I do not often artificially limit my prints in number, but it is safe to say that numbers are very well limited by the amount of time I spend on creating them.

Digital C-prints and ink-jet prints made by me personally are numbered and signed, and I keep my own records, but their number will be naturally limited by nature of my own mortality! “Numbered and signed” prints are NOT the same as “limited editions”. I describe them as “numbered editions”, but the number of prints possible is open ended. This gives me greater flexibility as their creator in that I can make them in a variety of formats and sizes, and on different substrates.

Selected imagery is available unsigned and un-numbered for use on print-on-demand merchandise. It’s no less valuable than any other imagery, but if something leans in that direction and I can share it, then I will. Plus, funding is much needed to pay for painting materials and this facility helps in a small way by giving me a royalty from each sale.

Please do consider purchasing some of my printed artwork as this is an easy and mutually beneficial way help support my creative project.
Take a look at Redbubble.com:

http://www.redbubble.com/people/jennyjimjams

Most of the signed/numbered and unsigned/open edition mechanical prints of my work, are not reproductions of paintings or drawings but are works true to their own medium which is photographic imagery, either originating from a photographic image or from photo-manipulation software. If I think a work in another medium suitable for translation into digital imagery and printing, then I will do this, but not indiscriminately.

I also produce monotypes, using traditional printing techniques and sometimes hand finished digital prints on various substrat

Here is the link to my website jamartlondon which tells you a bit about editions with reference to my own imagery. 

Good Article on an Exhibition I won’t be able to see…STRIKING UP A CONVERSATION: THE BALTIMORE MUSEUM OF ART UNITES MATISSE AND DIEBENKORN IN A GLORIOUS EXHIBITION

Both Diebenkorn and Matisse have worked their magic on me, and so feeling rather sad I cannot see this.  This review makes for a good read though, and gives a flavour at least of what must be a super experience of viewing the works together.. It’s written by Phyllis Tuchman  and POSTED 01/19/17 10:51 AM January 29.

http://www.artnews.com/2017/01/19/striking-up-a-conversation-the-baltimore-museum-of-art-unites-matisse-and-diebenkorn-in-a-glorious-exhibition/

First Visit to an Osteopath – What to Expect

Well, that is the question. There are lots of answers to that, but for me, the “What to expect” is, rather than the actual  encounter,  if I should expect any kind of improvement or result from the visit.  My agenda in going to see an osteopath certainly wasn’t anything to do with avoiding knee replacement surgery.  The bones are grating and banging against each other in a way which clearly isn’t going to be changed by anything at all.  I have been exercising and working on the muscles of the whole leg, and the rest of my body, since September 2015, starting with GP prescribed quad muscle exercises, gentle yoga, swimming, and then individually tailored physiotherapy from September 2016.  It was hard to imagine that any thing further might change in any way at all. Even with trying something new and unexplored, and having an appointment with an Osteopath.

I was not looking for a reduction in pain either.  I have got used to pain being part of my daily menu in life.  I am getting the knee surgically treated because the knee needs to be treated, and the problem addressed in this way.  I am not a medic,  but it has become increasingly clear to me, as I experience the steady and rather rapid deterioration, that things are not going to improve.  The fluctuations in symptoms which do occur, only belie the underlying reality that I cannot walk very far at all, and the I am turning down opportunities left, right, and centre, because I am now disabled and my life is restricted in a soul destroying way, and in a way I cannot accept.   And I don’t want to sign up to an experience of pain and disability any longer than I need to.

But, as an artist, I have a strong appreciation of the importance of balance.  In an abstract painting, the constant alterations to the balance of the work, which are to do with the form/structure of the painting, make all the difference.  So it is simply logical that the same should apply to my own body.  I have been aware of being very “out of kilter”  and also of how a problem/alteration in one joint affects the whole body.  It affects the way I move, hold myself, and the experience of pain also needs to be managed and negotiated somehow.  The whole body tenses up when in pain.  So I did not go along to an Osteopath to relieve any pain.  Maybe that might be an objective after surgery though!!!

Here is a link if you want an answer to the question “First Visit to an Osteopath – What to Expect” in terms of the general experience of a visit to an Osteopath, the examination, diagnosis, and treatment, plus ongoing care: 

http://www.osteopathy.org.uk/visiting-an-osteopath/what-to-expect/

My Personal Experience of Consulting an Osteopath

As part of my knee journey, I felt some time ago it would be beneficial to visit an osteopath.  I walk past the British School of Osteopathy quite regularly.   http://www.bso.ac.uk/   One of the things I had felt surprised about was that at no point in my experiences of physiotherapy had any direct manual work been done on my knee/leg and that this was something which might be beneficial. It just seemed logical.  All those exercises did make a difference to the muscles around the knee joint, and I guess an appreciation of the importance of all the soft tissues and how they are involved did make me think that, even though I will have my joint addressed, it is also important for everything around it to be treated.

I don’t have any great expectations attached to my interest.  I don’t wish to avoid a knee replacement, as my quality of life is too badly affected.  I am fortunate in that I have worked, and continue to work very hard, on my body… The yoga is beneficial, the swimming is beneficial and the physiotherapy was also beneficial.  I have been pulling, stretching, massaging and moving both in and out of water.  I have been working hard for  months and doing all I can, including weight loss, to improve my situation.  I am managing the pain pretty well, though it has to be noted that it has been a lot easier to manage with the forthcoming knee replacement operation well and truly on the horizon.  The thought that I do not have a life long sentence of avoidable pain and disability is a very significant point to make.  I now realise that I will miss my “old knee” to a certain extent… It has been with me for a long while.

Anyway, back to Osteopathy and why I thought I would bring myself along to the British School of Osteopathy and see what happened.  As said, I wondered about the lack of physical manipulation.  The total lack of physical manipulation.  When I was treated with Physiotherapy at hospital I was very grateful for the individually tailored programme of exercises, and I did them very conscientiously every day.  But something about being treated was missing.  People with a long term chronic condition  are in a very different place to someone with a more immediate trauma injury.  The whole experience of knowing that your life will be affected in a very long term way,  is a big matter to get your head around.  But even when you have done your best at that, constantly experiencing pain and disability and knowing this is your daily lot, if it happens to be beyond what you feel you can bear, is depressing and anxiety provoking.  Your WHOLE life is affected, and it becomes more important, that when you are treated, the effect on your whole life becomes an important element of the way you are treated.  More so than if you have something with a clear beginning and end.

So what happened when I went to visit an Osteopath?  Things had deteriorated with my knee at such a pace which did have the overall effect of making me willing to try anything, even if I had not thought about it before.   So I was ready for anything potentially beneficial at all.  I do confess to having dismissed osteopathic treatment, thinking it was probably something not REALLY worthwhile. However, I am pleased to say that the session of osteopathic treatment I had WAS beneficial.   Someone who knows how to pull and push your limb around, and manipulate the soft tissues in theory should be helpful, and it was with this in mind that I went along.   I can now straighten my right leg more than before…  I felt the difference last night lying in bed, and was suitably impressed.  I also noticed some change in how the leg felt when I was swimming this morning.  It does feel more comfortable somehow. It feels straighter.  I did not ask about the details of what she was doing/had done because I did not want to involve my brain and my thinking, or my belief process in the treatment but I just wanted to simply have the limb manipulated and see what happened.

Bearing in mind that I have been working on my right leg for months, and have done what I am able to attempt to increase how straight it can be, including stretching it in the sauna, , plus yoga stretching and standing, and various other activities (with straight leg pressing the back of back of  knee into bed,etc) I am suitably impressed.   The fixed flexion deformity was only slight when noted last year, but all the same,  as far as I understand, it is not a good thing for the knee joint not be able to straighten well, as this I think puts more load on the patella.   From my perspective though, it was simply rather impressive and encouraging that it is possible to manipulate the limb in this way and I wasn’t expecting anything at all. Simply curious and interested.  So it was a positive experience and I plan to come back when I have got the “all clear” after the knee replacement operation, and offer up my leg for some manual treatment.  I do confess to being very keen to ensure that I make the best possible recovery, and that I make the most of my rehabilitation process and get a good outcome from the operation.

As said, I had not considered going to see an osteopath.  But, as I massaged my knee, for pain relief mainly, I felt not only that there had been nothing practically done in the area of physical manipulation, which I was surprised about, (because of the importance of all the surrounding structures), but also that my experience with my knee was effectively a whole body experience. The osteoarthritis, while the right knee has taken centre stage, is part of what is happening for me all round.   The knee joint itself is one part of that.  The best way for me to tell you the outcome is by posting the feedback letter I posted…As I have already written it!

Hello,

I would be very grateful if you would pass on this feedback from my recent appointment

Dear ………

I just wanted to say how pleased I feel after deciding to come along and see what an osteopathic approach might offer me and to see if I found it beneficial.

I had no particular expectations with respect to any treatment, but my own instincts from massaging my own knee and to thinking about the body in general (in relation to art, in fact…as a mechanism which needs balance in order to create harmony) and also my experience of doing Scarivelli inspired yoga over the last year prompted me to come along. I have walked past the other BSO building many times and had never thought about osteopathic treatment up until then.

While I have certainly appreciated the Physiotherapy I received at hospital, I was surprised and disappointed with respect to the absence of any physical manipulation. This just seemed logical to me. I ended up feeling that my knee was not actually being treated. While all the exercises, (which I have been doing for rather a long time) have improved my leg, it was important to me that when I have the bones of the knee treated surgically that I had an optimal state of leg!

After my treatment my leg felt fine, but I wasn’t expecting anything much to be different. However, I am pleased to say that my leg does feel more aligned…and more like the left one. I had noticed that their was something a bit different about the right one in terms of alignment but couldn’t quite put my finger on it… it was to do with the way it moved. I also am pleased to say that indeed, something has been released at the back and I can more comfortably straighten it.

It is a much better feeling to do the necessary exercises having had the structure of the leg adjusted. I have noticed that when I do my sit to stands there is less shaking in the quads…They are still shaking a bit of course, because weakened, but there is certainly less shaking. When I am swimming, it feels I am swimming more efficiently. I was getting a lot of “out of joint” ness (cannot think of a way to put it) when swimming “doggie paddle” which stopped me doing that style, and had just been sticking to the crawl, but so far I can now doggie paddle too.

I am most pleased about the way it can now lay straighter though. It might seem a small thing but it really bothered me, because I felt this cannot be helpful for the knee, and though my walking is much better than it was last June, when the ESP noted “a slight fixed flexion deformity (“right knee movement -5 to 110 degrees with springy end feel at both ends”) it was very good to have you actually addressing the matter directly. I had set myself to attempt to address this myself, as nothing was said or done about it when I then got referred on to another Physio at the hospital. I had expressed my concern about the way it was painful there when sitting in “staff pose” but the response was “Well, just don’t do it then”. But I believe that this is a good and healthy sitting position for me to take, for my whole body, not just my leg, and that I should be able to sit that way if I want to. Plus, I really enjoy the yoga I do and I wanted to be able sit like that! I also stretched the back of the right leg in the sauna weekly and in the pool, and in various other ways I could think of. But it is so nice that it feels less tight and much easier to do now. Thank you very much!

All in all, when I do my exercises the whole leg feels stronger and more efficient, and this is a really great experience for me, in the respect that I can now go and have my surgery knowing that things are as good as they can get in the other structures of my leg. I realise that the surgeon will upset things with the surgery, hopefully as little as possible…and that I will need to start all over with the rehab. But it makes sense for things to be as nicely in place as they can at the start and certainly the way the exercising is more effective is very encouraging. It worried me that even some of the simple post op exercises where so difficult for me pre-op, (ie lying down with left leg bent, then doing a low straight leg lift with the right, involved an awful lot of trembling!) and now they are easier, I feel more confident about my body’s ability to work through the whole experience successfully.

So thank you very much indeed, and I look forward to seeing you post op! What a shame that Physio’s are also not Osteopaths, for I would have been able to access this experience much earlier. But thank you for your treatment of me, and I will definitely be coming back.

Kind regards,

Jenny Meehan

 

Some general information gleaned on Osteopathy:

Osteopathy is a system of diagnosis and treatment for a wide range of medical conditions. It works with the structure and function of the body, and is based on the principle that the well-being of an individual depends on the skeleton, muscles, ligaments and connective tissues functioning smoothly together.

To an osteopath, for your body to work well, its structure must also work well. So osteopaths work to restore your body to a state of balance, where possible without the use of drugs or surgery. Osteopaths use touch, physical manipulation, stretching and massage to increase the mobility of joints, to relieve muscle tension, to enhance the blood and nerve supply to tissues, and to help your body’s own healing mechanisms. They may also provide advice on posture and exercise to aid recovery, promote health and prevent symptoms recurring.

The above is quoted from http://www.osteopathy.org.uk/visiting-an-osteopath/about-osteopathy/

and, a small extract quoted from

 OSTEOPATHIC PRINCIPLES AND PHILOSOPHY
by
Raymond J. Hruby, DO, MS, FAAO
Copyright 2000, 2007, 2014 by
Raymond J. Hruby, DO, MS, FAAO

We can define osteopathic medicine as a complete system of medical care with a
philosophy that combines the needs of the patient with the current practice of medicine,
surgery, and obstetrics; that emphasizes the interrelationship between structure and
function; and that has an appreciation of the body’s ability to heal itself. Based on this
definition, osteopathic medicine defines a distinctive set of tenets which osteopathic
physicians use to formulate their approach to patient care.5
These tenets are:
 A person is the product of dynamic interaction between body, mind, and
spirit
 An inherent property of this dynamic interaction is the capacity of the
individual for the maintenance of health and recovery from disease
 Many forces, both intrinsic and extrinsic to the person, can challenge this
inherent capacity and contribute to the onset of illness
 The musculoskeletal system significantly influences the individual’s
ability to restore this inherent capacity and therefore to resist disease
processes
From these tenets the osteopathic physician derives certain principles for patient care.
These principles state that 1) the patient is the focus for healthcare; 2) the patient has the
primary responsibility for his or her health; and 3) an effective treatment program for
patient care is founded on the above-mentioned tenets.
Thus the osteopathic physician uses a health-oriented and patient-centered
philosophy to implement the principles of osteopathic medicine in the care of the patient.
The osteopathic physician’s goals are to:
 Seek out and address the root cause(s) of disease using available evidence-based
approaches
 Optimize the patient’s self-regulating and self-healing capacities
 Provide an individualized patient management plan that includes emphasis on
health promotion and disease prevention
7
 Include palpatory diagnosis and osteopathic manipulative treatment to address the
somatic component of disease the extent that it influences the well-being of the patient.”

 

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